Ostrich Egg

BETWEEN HEAVEN AND EARTHBIRDS IN ANCIENT EGYPT

edited by

ROZENN BAILLEUL-LeSUER

with new photography by

ANNA R. RESSMAN

ORIENTAL INSTITUTE MUSEUM PUBLICATIONS 35

THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO

Library of Congress Control Number: 2012946464 ISBN-10: 1-885923-92-9

ISBN-13: 978-1-885923-92-9

© 2012 by The University of Chicago. All rights reserved.Published 2012. Printed in the United States of America.

The Oriental Institute, Chicago

This volume has been published in conjunction with the exhibitionBetween Heaven and Earth: Birds in Ancient Egypt

October 15, 2012–July 28, 2013.

Oriental Institute Museum Publications 35

Series Editors

Leslie Schramer

and

Thomas G. Urban

with the assistance of

Rebecca Cain

Lauren Lutz and Tate Paulette assisted with the production of this volume.

Published by The Oriental Institute of the University of Chicago1155 East 58th Street

Chicago, Illinois, 60637 USAoi.uchicago.edu

Illustration Credits

Front cover: “Birds in an Acacia Tree.” Tempera on paper by Nina de Garis Davies, 1932. Catalog No. 11. Back cover: Head of an owl. Limestone and pigment. Late Period to early Ptolemaic period, 664–150 bc Catalog No. 22

Catalog Nos. 1–2, 5–15, 17–18, 20–27, 29–40: Photos by Anna R. Ressman; Catalog Nos. 3, 16, 19: Copyright the Art Institute of Chicago; Catalog No. 4: A114917d_12A, photo by John Weinstein. Reproduced with the permission of The Field Museum of Natural

History, Chicago, all rights reserved; Catalog No. 28: Copyright the Brooklyn Museum, New York

Printed by Four Colour Print Group, Loves Park, Illinois

The paper used in this publication meets the minimum requirements of American National Standard for Information Service — Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.

∞

5

TABLE OF CONTENTSForeword. Gil J. Stein ............................................................................................................................................. 7Preface. Jack Green ................................................................................................................................................ 9List of Contributors ............................................................................................................................................. 11Introduction. Rozenn Bailleul-LeSuer ................................................................................................................................. 15Time Line of Egyptian History ............................................................................................................................................ 19Map of Principal Areas and Sites Mentioned in the Text ................................................................................... 20

I. THE REVERED AND THE HUNTED: THE ROLE OF BIRDS IN ANCIENT EGYPTIAN SOCIETY 1. From Kitchen to Temple: The Practical Role of Birds in Ancient Egypt. Rozenn Bailleul-LeSuer ..................... 23 2. The Role of Birds within the Religious Landscape of Ancient Egypt. Foy Scalf ................................................ 33 3. An Eternal Aviary: Bird Mummies from Ancient Egypt. Salima Ikram .............................................................. 41 4. Sheltering Wings: Birds as Symbols of Protection in Ancient Egypt. Randy Shonkwiler ................................. 49 5. Pharaoh Was a Good Egg, but Whose Egg Was He? Arielle P. Kozloff .................................................................. 59 6. Birds in the Ancient Egyptian and Coptic Alphabets. François Gaudard ........................................................... 65 7. Birds and Bird Imagery in the Book of Thoth. Richard Jasnow ........................................................................... 71 8. Birds in Late Antique Egypt. Susan H. Auth ......................................................................................................... 77

II. ANCIENT EGYPTIAN BIRDS AND MODERN SCIENCE 9. Bird Identification from Art, Artifacts, and Hieroglyphs: An Ornithologist’s

Viewpoint. John Wyatt ........................................................................................................................................... 83 10. Bird Behavior in Ancient Egyptian Art. Linda Evans .......................................................................................... 91 11. Studying Avian Mummies at the KNH Centre for Biomedical Egyptology: Past, Present,

and Future Work. Lidija M. McKnight .................................................................................................................... 99 12. Medical CT Scanning of Ancient Bird Mummies. Bin Jiang, MD, and Michael Vannier, MD ................................ 107 13. Challenges in CT Scanning of Avian Mummies. Charles A. Pelizzari, Chad R. Haney,

Rozenn Bailleul-LeSuer, J. P. Brown, and Christian Wietholt ....................................................................................... 109 14. Terahertz Pulse Imaging of an Egyptian Bird Mummy. J. Bianca Jackson, Gérard Mourou,

Julien Labaune, and Michel Menu ......................................................................................................................... 119

III. EPILOGUE 15. The Avifauna of the Egyptian Nile Valley: Changing Times. Sherif Baha el Din ................................................ 125

IV. CATALOGBirds in Creation Myths ................................................................................................................................ 131Pharaoh the Living Horus and His Avian Subjects ....................................................................................... 135Birds as Protection in Life ............................................................................................................................ 143Fowling in the Marshes and Aviculture ........................................................................................................ 147

Nina de Garis Davies’s Facsimiles from the Painted Tomb-Chapel of Nebamun ............................................... 152Bird Motifs in Ancient Egyptian Arts and Crafts ......................................................................................... 157Birds in the Writing System ......................................................................................................................... 167Birds in the Religious Life of Ancient Egyptians .......................................................................................... 177

Falcon Cults ............................................................................................................................................. 178Ibis Cults ................................................................................................................................................. 189

Birds in Death and the Afterlife ................................................................................................................... 201Appendix: Bird Anatomy ...................................................................................................................................... 214Concordance of Museum Registration Numbers ................................................................................................ 215Checklist of the Exhibit ....................................................................................................................................... 216List of Birds .......................................................................................................................................................... 217Bibliography ........................................................................................................................................................ 218

131

BIRDS IN CREATION MYTHS

Few of the surviving texts and images that relate the creation myths of the ancient Egyptians were

composed for the sole purpose of describing how the world came into existence. In order to discover what Egyptians believed about creation, it is necessary to examine a wide variety of texts and images. What we call the “creation myths” of ancient Egypt consist of short episodes woven into larger contextual frame-works such as narrative literature, magical spells, fu-nerary compositions, or temple scenes.

The Egyptian view of the cosmos begins with the god Nun, a personification of the primeval waters in which all the elements of creation were dissolved. From this primordial soup, the so-called creator god appeared, whom the Egyptians referred to as “the one who came into being himself.” No explanation is offered for the mechanism behind his appearance. In fact, in Coffin Texts spell 75, this god explicitly states “Do not ask how I came into being from Nun.” Depending on the source, this appearance occurs

either independently, upon a mound, in a rising lo-tus, or from an egg. Through the act of masturba-tion, spitting, sneezing, thinking, or speaking, this god created the elements of the cosmos, which the Egyptians presented as divine personifications of water (Tefnut), air (Shu), earth (Geb), and sky (Nut). With the earth and sky separated by the air, the cre-ator god could travel by day in the form of the sun disk, thereby laying the physical foundations for the world as the Egyptians knew it.

Within the framework of the Egyptian creation myths, birds appear on several occasions. In one tell-ing, a goose lays an egg (see Catalog No. 1) on the mound which has risen from the primeval waters. From this egg, the sun god hatches in the form of a heron (see Catalog No. 2). This story, already present in the Pyramid Texts of the late third millennium bc, would have an important influence on the classical myth of the Phoenix. fs

1. OSTRICHEGG

Organic remainsA-Group, ca. 3100 bcQustul, Cemetery S, deposit 4Excavated by the Oriental Institute, 1962–6315.4 x 12.7 cmOIM E21384Oriental Institute digital images D. 17994–95

1

CATALOG

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BETWEEN HEAVEN AND EARTH: BIRDS IN ANCIENT EGYPT

This undecorated ostrich egg was excavated by the Oriental Institute Nubian Expedition from a deposit within Cemetery S at the Nubian site of Qustul, which lies just north of the border with Sudan.1 Several important cemeteries from the A-Group period were excavated at Qustul, with Cemetery S containing the largest tombs equal in size and wealth to the famous Early Dynastic tombs at Abydos.2 The egg is nearly complete with a small hole in one end through which it had been drained.3 Similar ostrich eggshells have been discovered at other sites throughout Egypt and Nubia (and throughout the Mediterranean), some dating back into the Holocene and continuing into the pharaonic period.4 A number of examples are decorated with desert animals and hunting scenes, paralleled in the contemporary artistic repertoire as represented on a wide diversity of media including rock art, tomb paintings, pottery decoration, and palette designs, among many others.5 The form of the ostrich egg was so valued that craftsmen produced imitation vessels made from stone or ceramics.

The definitive meaning of such ostrich eggs has been debated. Although ostrich eggs would have filled different functions within Egyptian and Nubian life, including utilitarian roles as potential food source, beads, or containers for liquids, the deposition of such items within the sacred space of cult sites, tombs, and “royal” cemeteries implies a symbolic function tied to prestige, power, and ritual practices.6 Religious correlations are demonstrated by several spectacular archaeological discoveries. Recent excavations of predynastic Cemetery HK6 at Hierakonpolis uncovered a large deposit of twenty-two ostrich eggshells.7 An ostrich eggshell was discovered buried inside a jar at the Nile Delta site of Tell el-Farkha as a potential foundation deposit.8 In a Neolithic tomb at Naqada, W. M. Flinders Petrie unearthed the remains of an individual whose missing head was replaced by a decorated ostrich egg.9

Support for the spiritual significance of the egg motif has been found by turning to religious literature from later periods of pharaonic history. In Book of the Dead spell 77 for “turning into

a falcon of gold,” the deceased recites: “I have risen as the great falcon which has gone forth from his egg.”10 The passage refers to one of the mythological accounts of the creation in which a goose, referred to as the “Great Cackler” (Ngg wr), lays the cosmic egg from which the sun god hatches and rises up to create the visible world.11 Through means of this text, the deceased associated himself with the

sun god in the hopes of joining the solar-Osirian cycle, thereby ensuring his eternal existence in the entourage of the gods.12 The egg, therefore, came to symbolize both birth and rebirth, an associated quality maintained into Egypt’s Coptic period, when it was connected with Christ’s birth and resurrection.13 Despite the difficulties of forming an understanding based on data from millennia later, most interpreters have assumed that similar intentions motivated the utilization of these ostrich eggs within sacred landscapes during the very foundation of Egyptian and Nubian civilization.14 fs

published (selected)B. Williams 1989, p. 103

notes1 B. Williams 1989, p. 103.2 B. Williams 2011, p. 87.3 Kantor 1948, p. 46; Teeter 2011b, cat. no. 5.4 Muir and Friedman 2011, pp. 582–88; Phillips 2009, pp. 1–2; Cherpion 2001, pp. 286–87.5 Kantor 1948; Hendrickx 2000; Teeter 2011b, cat. no. 5.6 B. Williams 1989, p. 10; Cherpion 2001, pp. 288–91; Muir and Friedman 2011, pp. 588–90.7 Muir and Friedman 2011.8 Ciałowicz 2008, pp. 31–32; Ciałowicz 2011, pp. 773–75.9 Petrie and Quibell 1896, p. 28; Cherpion 2001, p. 288.10 For text, see Lepsius 1842, pl. 28, BD 77, line 1. For translation, see T. G. Allen 1974, p. 66.11 For references to the “Great Cackler” (Ngg wr), see Leitz 2002, vol. 4, p. 367.12 Such is specified in more detail in BD 149, where the sun god is addressed directly: “Hail to you, this noble god in his egg, I have come before you so that I be in your following.”13 Phillips 2009, p. 2.14 Muir and Friedman 2011, p. 588; Dreyer 1986, p. 97 n. 389.

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